A Quote by David Letterman

When we started the show, there were mixed responses. Half of the people said, 'That show doesn't have a chance.' The other half said, 'That show doesn't have a prayer.'
And that's what happened to that show. It started ordinary, it started really rather bad. As I said, there was a review that said, really, we think the commercials are better than the show. And then it gradually developed.
When he first started - Jim Henson, who created Bid Bird and Oscar - he said Big Bird was just a big, goofy guy. And it was - a script came along and I said, 'I think Big Bird would be much more useful to the show if he were a child learning all the things we were teaching in the show.' And so he didn't know the alphabet, even, for instance.
I remember when I first came out, it was like half and half, half the female fighters were like, 'I understand why she did it, and I'll fight her,' and half said I shouldn't be in the cage and said horrible, horrific transphobic comments about me.
Which other actor has appeared in one-half of a dance show as a girl and in the second-half as a man?
'Tommy' was the first show I ever saw on Broadway. I was 14. It wasn't 'the show' that started that flame in me or anything, but it did excite me in a way no other show had. I'd never seen a show so brilliantly cast and directed.
Anybody who's in the dressing room after the show always says, "Oh, my God, I was kind of worried that the show was going to be sleepy because you were half asleep, yawning, and not really present."
Our respect for the dead, when they are just dead, is something wonderful, and the way we show it more wonderful still. We show it with black feathers and black horses; we show it with black dresses and black heraldries; we show it with costly obelisks and sculptures of sorrow, which spoil half of our beautiful cathedrals. We show it with frightful gratings and vaults, and lids of dismal stone, in the midst of the quiet grass; and last, and not least, we show it by permitting ourselves to tell any number of falsehoods we think amiable or credible in the epitaph.
It kills me to see people think that, show business is sex, drugs and rock and roll. And I have what you call a meet and greet. I do it before the show. But when I was doing it after the show especially, there would be people who would come back and said, OK, Smoke, where's the party?
You had to have two VCRs, and you had to tape everything, and you had to make a choice - you either watch WWF or you watch WCW, or you watch one half of one show and the last half of the second show or whatever the case was back then.
When I sign on to a television show, I have to love that show and character so much, but this [Mistresses] was in and out, for seven episodes. And it was nice to be able to make some money again because I hadn't work in a year and a half. There were a lot of pluses.
You go to a Springsteen show, and half of the people are there to party and forget about their cares, and they're being drawn to this visceral experience. And then the other half, you know, has lived and died with his 'Nebraska' album and considers him one of the greatest poets.
I was on Twitter and I saw that I had over 1,000 responses and I was like "OK, something happened," so I opened it and it was like "Charice on Glee!" I didn't get an e-mail from the show so I wasn't tweeting at that time. I just watched my fans tweet. And then after about 30 minutes the show e-mailed me and said congratulations.
I never root for a failure. I learned that when we were on 'Felicity.' There was a show that failed on the lot, and suddenly all of this food showed up on our set. I was, like, 'What is this?' And they said, 'Oh, they cancelled this other show right before their lunch.' And I said, 'Throw that food away! We don't want to touch that food! There's no way I'm eating it!' So I never root for anybody, because it could happen to you in two seconds.
As I was getting into the helicopter, a slightly nervous actor said to me, "Whatever you do, don't say to the helicopter pilot, 'Show me what this baby can do.'" So I of course, got into it and said, "Show me what this baby can do." And we just had this insane helicopter ride. It's the sort of thing you only get to do on movie sets. I'm so lucky to have done it and have that chance.
Our goal was to show people a vision of food they hadn't seen before. So, I had this idea of... let's cut all these things in half, and show a picture of the food in the pan, in the oven.
The longest show I've ever done was four and a half years, so I can only imagine what ending an eight year show is like.
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